SONATINE FOR FLUTE AND PIANO. BY PIERRE BOULEZ. A Written Document. Submitted to the Graduate Faculty of the. Louisiana State University and. Sonatine: Pierre Boulez: In his Sonatine for flute and piano (), the tone imitations and canons progress so quickly as to leave an impression merely of. Boulez: Sonatine For Flute & Piano, Etc / Ensemble with Aimard, Pierre- Laurent, Cherrier, Sophie on CD. Order from your preferred classical music CD store.

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Sonatines for flute and piano. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. The all-time greats Read about the artists who changed the world of classical music.

But here is proof that atonality can osnatine fun. Sonatine; Piano Sonata No. Le Domaine Musical, Vol. Drinking Hanging Out In Love. If 51 minutes seems a touch short for a CD these days, at least we have the pleasure of knowing that every note on this disc is quality-assured. It is rare that a complete statement of the entire twelve tones be completed in one of Boulez ‘ works; however, we get a rare glimpse of this unique entity here. And, with the minor reservations mentioned above, that goes for the performances, too.

From this work of his predecessor, Boulez took, more than anything else, the idea of “the metamorphosis of a single theme”.

Sonatine | work by Boulez |

The piece gets its life from the constant push and pull of the tempo. The first five-note theme which appears in the flute part does show up in various stages throughout the piece; keeping the piece united, these act as a landmark throughout the piece. Le Domaine Musical, While much of the music of Boulez depends upon serial and twelve tone techniques, there is no doubt that his use of these techniques is unique.


The Sonatine for flute and piano serves as a perfect example of some of the stylistic variations Boulez took from his contemporaries, and why, years later, this work and those like it are still examined for their innovative qualities. The Now and Present Flute. Sonztine expert reviews easier than ever before.

Composition Artist Credits Sonatine. This, Jolivet seems to be saying, is what the faun might have played before sex addled his brain. Whether you want to see what we think of today’s latest releases or discover what our critics thought of your favourite recordings from the past, you will find it all in our full-searchable Reviews Database. Song of a Desert Bird: Skip to main content.

While it’s true that Boulez may have gotten the core of this idea from Schoenbergit has a life of its own in Boulez ‘ hands.

Boulez/Dutilleux/Jolivet et al – Sonatines for Flute and Piano |

The French Avant-Garde fllute the 20th Century. Streams Videos All Posts. Introspection Late Night Partying. Upon closer examination, it also appears that the choice of intervals used is limited to major thirds, sevenths, tritones and perfect fifths. Rainy Day Relaxation Road Trip. Share on facebook twitter tumblr. AllMusic relies heavily on JavaScript. Chant de Linos; Boulez: The piece itself is rather short, but full of energy, with huge melodic leaps, sharp rhythmic and tempo contrasts, and an aggressive quality which never lets up until the conclusion of the piece.


The Sonatine was written on commission for flutist Jean-Pierre Rampalwho sonatins never played it because of his extreme dislike for the work. Georges Barrere, for whose platinum flute Varese wrote his ground-breaking Densite The twelve-tone materials used in this work are easily seen by a quick look at the flute opening.

The Schoenberg work is written in a foute style, while the Sonatine is most definitely serialism at its finest. Jazz Latin New Age.

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Pierre Boulez: Sonatine

In both Densite Boulez ‘ writing is twelve-tone in its basic pitch material, and virtuosic in its use of the timbres, unique combinations of textures, shifts in dynamic accents, etc. Throughout most of the work, there is no true connective tissue between the flute and piano parts past the pitch choices, which perhaps leaves the variations on tempo, texture, and timbre as the unifying structure to the entire work. Also, he has limited some of his divisions of the twelve tones into groups of five, five, and two, with the use of the motif tritone to fifth.

Boulez himself has stated the work along with its counterpart, the First Piano Sonata draws a fair amount from Schoenbergspecifically his Chamber Symphony.